This compact disc was quite a surprise. Steve Cromity is a real talent who came to jazz as a professional singer later in life after raising a family. He was born in Brooklyn and has lived in New York City all his life. As near as I can determine he works almost exclusively in this city. He heard jazz from the time of his
pre-school years. His professional career is about 10 years
duration.

He is now in his late 60s. This may be a good thing as he is a very mature singer with great diction. His phrasing is
much like Frank Sinatra’s. I wonder if that man was an influence. The instrumental backing is first rate including his nephew Eric Wright. These musicians are all working in the New York area and are among the young lions there. It is a very cohesive
unit. The selection of songs is great. Most are hard swinging with
the exception of a couple ballads, “My Little Boat” and “How Little We Know”. One of my favorites is Duke Pearson’s
“Jeannine”. The tune “Sugar” on this disc is not the older Dixieland chestnut but a tune written by Stanley Turrentine. You can’t go wrong with this album. It is one of the best male jazz vocal CDs I’ve heard in a long time. Give it a listen.

TRANSLATION
Ten songs taken from the great tradition of jazz performed in the best mainstream style with sincerity and an executive class combined with perfect diction of verses of famous songs. It’s what gives us Steve Cromity, singer of New York that with a band of musicians in tune with the project enjoys swingare and make us relive the atmosphere of the club is that the American Big Apple where you do this music.

There are a couple of special guests that stand out for their remarkable solos and accompany the leader, Patience Higgins in five songs, tenor sax, soprano sax and flute, tenor saxophonist Eric Wyatt in four songs and Kenyatta Beasley on trumpet in the other five. The rhythm section is led by pianist Marcus Persiani, who is the music director, to complete it on bass and Eric Lemon Darrell Green on drums. The songs, among the favorite of Cromity, see also a bossa nova, the lovely My Little Bloat, for the rest of the big ballad, How Little We Know and exciting performances of standards like When Lights are Low and Without a Song, times faster on Sugar by Stanley Turrentine. For all the hard work we have measured the guests of rhythmic empathy for the singer so that is a very compact together running with sincerity a mainstream high level. It is not to be found here that the innovations of jazz tomorrow, but when you listen to the solos of Eric Wyatt and Kenyatta Beasley on Without a Song together with the great voice of the singer and the rhythm completely in tune appreciates the sincerity and great skill Musicians in proposing gender

All My Tomorrows; Steve Cromity, vocals.
Male jazz singers may not be considered an endangered species, but they are at the very least a rarity these days. Every month in this space there are a few female singers reviewed, but the guys — well, few and far between. So here comes Steve Cromity, with solid jazz chops, excellent choice of tunes, and a well-crafted ensemble providing accompaniment. If Cromity reminds me of anyone, I might single out the great but under-appreciated Bill Henderson. There’s a hint of Henderson in Cromity’s phrasing and the slightly edgy aspect of his voice. And what great tunes! For starters, how about these: “Old Devil Moon,” “When Lights Are Low,” “All My Tomorrows,” “Where Do You Start,” “How Little We Know,” and “I Was Telling Her About You.” His rhythm section is mildly embellished here and there by the two tenor saxes of Patience Higgins and Eric Wyatt. Don’t get me wrong. I love the ladies. But in an ocean of female “wanna-be’s” and a smaller number of the gifted, it’s nice to occasionally be treated to a hip, straight, no gimmicks male jazz singer. And Steve Cromity is just that!
Self-Produced; 2015; appx. 45 min.